Ruth Bachofner Gallery is pleased to present Eight From CGU, an exhibition of 2010 MFA Graduates from Claremont Graduate University. The artists' works reflect a cross section of approaches that include abstract painting, figurative painting and photography that encompasses painting and performance.
PHILLIP GRISWOLD My pieces are conflated realistic and dreamlike spaces, blending man made and natural references around figurative quasi-narratives and semi-allegories. My intention is for these pictorial explorations to unearth some heretofore-unseen things, or fresh ways of seeing things that have always been there. The admixture of both the banal and the transcendent can be both a catalyst of thought and a questioning of perception.
KEVIN SCIANNI As one of the earliest forms of human activities, transcending both historical and cultural boundaries, games are a deeply rooted human experience...Each painting is the result of a game played. A set of rules, challenges and goals are created before-hand and the act of painting becomes the act of playing. Each of these game moves impacts the resulting color and composition of the paintings. In the end, these decisions, determined solely by the objectives of the game rather than formal concerns, guide the painting to its completion.
MICHAEL KINDRED KNIGHT In my work, matter becomes information and goes back again, to a new, altered materiality. In each painting, I look to mark a seemingly familiar or legible territory that uses the glow of devices such as computer screens, LED billboards and cell phones etc., to describe my experience of a new place. Through color, shape, and an altered sense of gravity, I construct an abstract space. This space maintains its own continuity while eliciting several disparate modes of painting, e.g., landscape, interior, still life, and geometric abstraction.
CHRIS TRUEMAN Fundamentally, [my] paintings search out and explore the limitations of parallel processing within our perception. Not so long ago, scientists and theoreticians speculated that exposure to technologies such as the Internet and mobile communications would help our brains develop the ability to simultaneously digest multiple sets of parallel processes. Recent research has found that this has not happened. Rather, we are learning to switch trains of thought more quickly and to find connections in a greater number of ways. I am taking advantage of both aspects by constructing paintings that can not be processed at once; they are intended to remain multiplicitous, and refuse resolution into one unified object.
ALISON RASH My work occupies the intersection among order, coincidence and manipulation, and gets at a quiet understanding of exploration...The paintings explore the results of following systematic impulses. These impulses are the paintings’ organizing principles. I use a facet of my own life - an anecdote or idiosyncratic thought-process - to set up a structure. This leads to a purposeful detachment in the paintings – a denied anxiousness that results in a peaceful resolve.
ALEX C. MOORE Specific yet anonymous, my paintings allow the viewer to sit within what would normally be a fleeting moment of intimacy. The paintings depict fragments of figures and items of clothing emerging from raw canvas. Like our relationships to each other, the fragments of figure are at times familiar but disorienting, fluid but with passages of awkwardness. The interplay between the raw canvas and the thick fleshy oil paint blurs the boundary between surfaces and thus between figure and external influences.
LUIS RENDON My art is the foundation I use to commune with myself and bridge the gap to the rest of the world. A gap created by everyday being surrounded by information, so much so that it is easy to become numb. I do not want, because of my inability to filter the relentless onslaught of information, to walk through life tuned off. All that undigested knowledge leaves me feeling distant from myself and unable to connect with others...My non-representational paintings are the residue of this experience. The gestures that create the marks are tied to the expressions of my body, and are intimately related to its motions.
WHITNEY HANLON I use my own face and body as a surface to cover with swirls of neon, opaque acrylics. Painting directly on skin brings up ideas of authenticity of self vs. one’s outershells/ coverings. These photographs question the idea of ‘painting a portrait’ by combining references to portraiture with abstract painting and its application.